Studies in Theatre and Performance最新文献_第9页

Borderline society and ‘rebellious mourning’: the case of South Korean feminist activism 边缘社会与“反叛的哀悼”:韩国女权主义运动的案例

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-25 DOI: 10.1080/14682761.2021.1874106

Y. J. Hwang

{"title":"Borderline society and ‘rebellious mourning’: the case of South Korean feminist activism","authors":"Y. J. Hwang","doi":"10.1080/14682761.2021.1874106","DOIUrl":"https://doi.org/10.1080/14682761.2021.1874106","url":null,"abstract":"ABSTRACT In this article I propose two concepts – a borderline society and ‘rebellious mourning’ – to present a conceptual framework for understanding contemporary Korean feminism. This article argues that borderline society is both a concept and a product of co-existing and contesting ways of Korean women’s speaking against the culture of gender-based violence to consider the (imagined) topography for their co-existence as one that requires the psychic conception of reality as a counterpart to the patriarchy. Given that the 2016 femicide accelerated the movement of Korean women speaking about their experiences as an act of mourning, borderline society provides an understanding of how Korean women perform it. Drawing on contemporary news clippings and websites related to Korean feminist activism, this article examines how ‘rebellious mourning’ is embodied through the cultural practices of Korean activist groups. While Womad stands in opposition to #MeToo because of its negation of the patriarchy, Flame, Femi, Action is situated as a point of contact between the two. This article will thus provide a new understanding of the particularity of Korean feminism based on the link between the psyche and gender subjectivity of women speaking up, thereby placing a specific local situation into the broader context of constructing activism.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"1 1","pages":"32 - 46"},"PeriodicalIF":0.3,"publicationDate":"2021-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88210783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Vulnerability, care and hope in audience research: theatre as a site of struggle for an intergenerational politics 观众研究中的脆弱、关怀和希望:戏剧作为代际政治斗争的场所

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-03 DOI: 10.1080/14682761.2020.1862998

K. Gallagher, C. Balt, Lindsay Valve

{"title":"Vulnerability, care and hope in audience research: theatre as a site of struggle for an intergenerational politics","authors":"K. Gallagher, C. Balt, Lindsay Valve","doi":"10.1080/14682761.2020.1862998","DOIUrl":"https://doi.org/10.1080/14682761.2020.1862998","url":null,"abstract":"ABSTRACT This article considers the theatre as a vital site for the formation of an ‘intergenerational polis’ through its examination of the verbatim play, Towards Youth: A play on radical hope, by Andrew Kushnir. Performed in Toronto from February to March, 2019, at Crow’s Theatre, Towards Youth attracted a uniquely intergenerational audience. Our audience research on this production, consisting of post-performance interviews, conducted in the lobby of Crow’s Theatre, gave rise to difficult dialogues between generations, particularly regarding questions of ‘intergenerational injustice’ at these times of economic, environmental, and socio-political precarity. We examine how discomfort,witnessing and vulnerability manifested in these audience interviews and in the development of a tentative and temporary ‘intergenerational polis’ in the theatre. We look to how the affective labour performed by the audience in these interviews sought to establish an ‘ethics of care’ between some younger and older audience members, as a practice of hope in uncertain times. This research gestures towards the importance of attuning to ‘dissensus’ in audience research towards the cultivation of a critical and civically-engaged spectatorship.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"25 1","pages":"35 - 53"},"PeriodicalIF":0.3,"publicationDate":"2021-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82676884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A manifesto to decentre theatre and performance studies 下放戏剧和表演研究的宣言

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1881730

Swati Arora

引用次数: 9

If/when performance studies came to Singapore: PSi #10 and its ramifications 如果/当绩效研究来到新加坡:PSi #10及其后果

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1889238

N. Cheng

引用次数: 1

Freedom in the margins: experiences from Brazil 边缘的自由:巴西的经验

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1885961

P. de Senna, Lucia Gayotto, M. Meirelles

引用次数: 0

The birth of the ‘cool:’ Marlon Brando and the afro-aesthetics of psychological-realist acting “酷”的诞生:马龙·白兰度和心理现实主义表演的非洲美学

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1889936

Julia A. Walker

引用次数: 1

Editorial: taking a snapshot of theatre and performance studies 社论:回顾戏剧和表演研究

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1881271

Marilena Zaroulia, Glenn A. Odom

{"title":"Editorial: taking a snapshot of theatre and performance studies","authors":"Marilena Zaroulia, Glenn A. Odom","doi":"10.1080/14682761.2021.1881271","DOIUrl":"https://doi.org/10.1080/14682761.2021.1881271","url":null,"abstract":"When, in September 2018, Tom Cornford, Glenn Odom and Marilena Zaroulia joined the editorial team of Studies in Theatre and Performance as new Associate editors, we were presented with the task that all incoming editors had to complete within the first two years of their tenure: to collaboratively curate a special issue that would offer a ‘snapshot’ of the field of theatre and performance studies at the end of the second decade of the twenty-first century. Even though the three of us had very different research trajectories and expertise, we agreed that this issue was not going to be driven by particular research agendas but by our shared commitment to the important, unfolding debate of decentring the field of theatre and performance studies, a debate that followed global calls for ‘decolonizing the university’. This editorial tells the story of the issue from call for papers to the finished works that the reader is about to encounter. When we started working on this issue, we felt that there was a momentum building up that necessitated an issue that centred the processes of decentring across diverse contexts and methodologies. As we are finalizing the editorial in the last days of 2020, a watershed year for what the COVID-19 pandemic began to unleash, severely impacting the most vulnerable bodies and communities, wefeel how imperative it is for everyone to contribute to this task of decentring. We are acutely aware of how any inherent limitations of any one approach to this task as the principle of decentring applies to voices, subjects of study and methodologies equally.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"3 1","pages":"1 - 11"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89879416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Oriental fissures in the western canonical structure: Li Shutong and his aesthetical revolution against Chinese theatrical conventions 西方规范结构中的东方裂隙:李叔同及其对中国戏剧传统的美学革命

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1885166

Lizhen Chen

引用次数: 0

Disrupting the hierarchy of knowledge production: the case of documenting social theatre in Palestine 破坏知识生产的等级制度:记录巴勒斯坦社会戏剧的案例

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1888565

R. Polonyi

{"title":"Disrupting the hierarchy of knowledge production: the case of documenting social theatre in Palestine","authors":"R. Polonyi","doi":"10.1080/14682761.2021.1888565","DOIUrl":"https://doi.org/10.1080/14682761.2021.1888565","url":null,"abstract":"ABSTRACT The field of social theatre is founded in community-engaged creative processes. It is inherently political, embedded in its geopolitical and social environment. Yet existing methods of documentation – the distribution and gathering of data and its output - do not always reflect this tradition. Methods related to documentation raise various concerns around consistent ways to gain and share knowledge if the meanings that we cultivate are not approached as an active, non-hierarchised exchange with and among communities, activists and practitioners we serve. In general form, these concerns are: a) What are the implications of needing to document social theatre; and b) What becomes of this knowledge? These two questions are demonstrated within the case of documentation in the occupied Palestinian territories. In a region containing the most documented and recorded conflict in the world (Debray 2007), academic research serves arguably to impose structure on a given phenomenon. Yet ‘imposing’ structure – or what one considers as such – raises additional concerns of perpetuating dynamics of colonial occupation amidst a population that is increasingly denied self-representation. Using this example, I argue that the future of our field risks data fossilising if it does not retain creative flexibility in crossing disciplines, in protecting grassroots and practice-based forms of knowledge cultivation, and in taking risks in permitting inquiries to test our scholarly expertise. This piece argues for an epistemological shift in our knowledge production – both its collection and distribution.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"143 1","pages":"21 - 39"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78872566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

On (not) being useful: the art of drifting in Asian contemporary theatre 论(非)有用:亚洲当代戏剧中的漂流艺术

IF 0.3 3区艺术学

Studies in Theatre and Performance Pub Date : 2021-01-02 DOI: 10.1080/14682761.2021.1881732

Kyoko Iwaki

{"title":"On (not) being useful: the art of drifting in Asian contemporary theatre","authors":"Kyoko Iwaki","doi":"10.1080/14682761.2021.1881732","DOIUrl":"https://doi.org/10.1080/14682761.2021.1881732","url":null,"abstract":"ABSTRACT In 2014, I founded Scene/Asia, a platform of critique and dialogue for Asian contemporary performances. The main objective of the project was to extract performance tropes and concepts cultivated on the Asian soil; we tried to build a pool of knowledge that uses ‘Asian theatre [and not Western theatre] as method’, to cite Rossella Ferrari, who, in turn, borrowed from Kuan Hsing-Chen. Taking this three-year project as an empirical basis, this paper argues, in a hybrid language consisting of fieldwork reports, discussion outcomes, curatorial procedures and scholarly analysis, that the three pillars of Western canonisation in theatre – institutionalisation, historicisation and the ensuing commodification – may be ‘useful’ to the West, but a priori contradict the raison d’être of traditional Asian performances. The paper demonstrates this by referring to traditional Asian pop-up theatres and a text by Japanese ethnologist Orikuchi Shinobu, who argues that Japanese entertainers were originally ukare-bito (drifting people). Finally, this paper demonstrates an analysis of Malaysian theatre director Mark Teh’s Version 2020: The Complete Future of Malaysia (2017) as a contemporary Asian theatre piece that brings into relief ‘Asian theatre as method’ by adopting what Teh calls the ‘dispersive dramaturgy’.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"54 1","pages":"95 - 110"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76887859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0